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b. 14-15
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering of FE, coming undoubtedly from Chopin, was most probably added in the proofreading of this edition. The fingering was then repeated – inaccurately, without the last '5' in bar 14 and '2' in bar 15 – in EE2 (→EE3). It is characteristic that both here and in bars 17-18, Chopin probably considered the fingering of the top voice to be more natural than of the bottom one, since he gave only a few digits over the notes. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 14
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composition: Op. 25 No 6, Etude in G♯ minor
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In front of a category imprint: Editorial revisions; Source & stylistic information |
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b. 15
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composition: Op. 25 No 6, Etude in G♯ minor
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According to us, the differences in the number of fingering digits are most easily explained in the following way. In [A] Chopin introduced 9 digits, as we see it in EE1. The last two were added in FC (→GE), overlooked by the copyist, while the tenth was added by Chopin, proofreading FE. The addition was repeated in EE2 (→EE3). Cf. bars 17-18. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 15
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composition: Op. 25 No 6, Etude in G♯ minor
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Determining the affiliation of the middle components of chords to one of the two written voices sometimes poses a serious difficulty in Chopin's works. The notation is often inaccurate, there are also note heads which are not linked to any stem or just the opposite – linked with one stem going both upwards and downwards (cf., e.g., the autograph of the Etude in A minor, No. 4). This is a possible explanation of the differences in this bar between FC (→GE), FE and EE. Due to the fact that the authentic pedalling makes that this detail of notation influences the sound effect to a minor extent, in the main text we adopt the notation of the basic source, i.e. FE. category imprint: Differences between sources |
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b. 17-18
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC (→GE), the fingering is written only in two characteristic places – under the descending chromatic scale in the 2nd half of bar 17, appearing in the Etude for the first time, and at the end of bar 18, where Chopin, at the change of direction of the figuration, indicated a different fingering from the general scheme. More digits in EE1 probably means that, still at the stage of preparing the Stichvorlage manuscripts, the composer considered these indications to be insufficient. Eventually, most probably while proofreading FE, he gave a full fingering of the bottom register and a few further indications for the top. The latter was repeated – without the last digit of the top voice – also in EE2 (→EE3). category imprint: Differences between sources issues: Authentic corrections of FE |
at the beginning of the bar, the sources include a superfluous 
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